Staging Beckett: The Impact of Productions of Samuel Beckett's Drama on Theatre Practice and Cultures in the United Kingdom and Ireland (1955 - 2010)

这个雄心勃勃的项目将着手全面绘制、记录、存档和揭示自1955年以来在英国和爱尔兰专业上演的贝克特戏剧的所有现存作品。它还将试图评估英国和爱尔兰的戏剧从业者-从导演和演员到设计师-如何试图塑造贝克特的作品，以英国和爱尔兰自1955年以来的特定历史和文化条件，以产生一个独特的“美学”的工作。该项目将寻求评估贝克特戏剧对这些从业者的工作，对戏剧导演，设计和表演的当代实践，以及对英国和爱尔兰戏剧文化（戏剧节目，评论等）的影响。塞缪尔·贝克特的戏剧不仅对爱德华·阿尔比、哈罗德·品特、莎拉·凯恩和苏珊·洛丽·帕克斯等剧作家产生了重大的国际影响，而且对主流和实验性的当代戏剧实践也产生了重大影响。他的作品吸引了众多知名导演（如Peter Brook、Luc邦迪、Peter Hall、Yukio Ninagawa、Deborah Warner和Robert Wilson）;伦敦西区和百老汇的星星阵容;以及实验性的跨学科表演（如Mabou Mines对贝克特的改编或凯蒂·米切尔对贝克特晚期戏剧的装置节目）。它还在巡回演出和地区剧院的节目中占有重要地位。所有上述类别包括许多英国和爱尔兰的制作，但有影响力的研究，如乔纳森卡尔布的贝克特在性能（1989年）和洛伊斯奥本海姆的贝克特导演/导演贝克特（1997年）往往集中在贝克特的实践作为自己的工作，在美国的导演或制作（如艾伦·施耐德或乔安妮·阿卡拉蒂斯备受争议的《终局》），或偶尔在一些欧洲导演的作品上，如乔治·塔博里。与此相反，贝克特在英国和爱尔兰的作品却很少受到评论界的关注。虽然一些学者存在于少数导演-特别是彼得·霍尔爵士自1955年第一部英国电影《等待戈多》以来与贝克特的长期合作-这些叙述往往是主观和轶事。最近的评论界关注贝克特作为一个爱尔兰作家，最近的专著包括艾米莉·莫林的塞缪尔·贝克特和爱尔兰问题（2009年）和肖恩·肯尼迪的贝克特和爱尔兰（2010年），但在爱尔兰和北方尔兰贝克特戏剧作品的研究有很多空白。其中一些作品在1984年被收录在《爱尔兰大学评论》的一期中，最近，《戈多》在派克剧院的首映式（1995年）和贝克特电影项目（2001年）上的工作已经完成，贝克特的19部舞台剧被拍摄成电影，其中包括尼尔·乔丹，恩达·休斯和约翰·克劳利等爱尔兰导演。这是从1991年推出的贝克特十九部戏剧的门剧院都柏林节发展而来的。然而，对于贝克特戏剧在英国和爱尔兰的作品范围，以及这些作品对英国和爱尔兰戏剧中贝克特美学或风格的发展，或对表演，导演或设计实践（如乔斯林赫伯特的作品）的影响，还有很大的研究空间。此外，几乎没有任何研究存在贝克特的戏剧在英国和爱尔兰的区域或巡回演出。该项目将提供大量的新数据和见解英国和爱尔兰戏剧在二十世纪后半叶。我们的项目旨在纠正贝克特奖学金这一领域的差距和遗漏，通过承认和传播给公众，学术界和戏剧界一个详细的和批判性的强大的研究，将检查戏剧实现塞缪尔贝克特的工作在英国和爱尔兰的悠久传统。

This ambitious project will set out to comprehensively map, record, archive and bring to light all extant productions of Beckett's plays that have been professionally staged in Britain and Ireland since 1955. It will also attempt to assess how British and Irish theatre practitioners - from directors and actors to designers - have attempted to shape Beckett's work to the specific historical and cultural conditions within Britain and Ireland since 1955 in order to produce a distinctive 'aesthetic' for the work. The project will seek to evaluate the impact of producing Beckett's drama on the work of those practitioners, on contemporary practices of theatre directing, designing and performance, and on British and Irish theatre cultures (theatre programming, reviews etc). Samuel Beckett's theatre has had a major international impact not only on playwrights such as Edward Albee, Harold Pinter, Sarah Kane and Suzan-Lori Parks but also on mainstream and experimental contemporary theatre practice. His work attracts high profile directors (such as Peter Brook, Luc Bondy, Peter Hall, Yukio Ninagawa, Deborah Warner and Robert Wilson); West End and Broadway productions with star casts; and experimental interdisciplinary performance (such as the Mabou Mines' adaptations of Beckett or Katie Mitchell's installation programme of Beckett's late theatre). It has also featured on the programmes of touring and regional theatres. All of the above categories include many British and Irish productions, but influential studies such as Jonathan Kalb's Beckett in Performance (1989) and Lois Oppenheim's Beckett Directing / Directing Beckett (1997) tend to focus on Beckett's practice as a director of own work, on directors or productions undertaken in the United States (such as Alan Schneider or Joanne Akalaitis's controversial production of Endgame), or occasionally on productions by some European directors, such as George Tabori. In contrast, very little critical attention has been paid to the many productions of Beckett's work in Britain and Ireland. While some scholarship exists on a few directors - notably Sir Peter Hall's longstanding engagement with Beckett since the first British production of Waiting for Godot in 1955 - these accounts are frequently subjective and anecdotal. Much recent critical attention has focused on Beckett as an Irish writer with recent monographs including Emilie Morin's Samuel Beckett and the Problem of Irishness (2009) and Sean Kennedy's Beckett and Ireland (2010), but there are many gaps in research on productions of Beckett's theatre in Ireland and Northern Ireland. Some of these were included in an issue of the Irish University Review in 1984, and, more recently, work has been done on the Pike Theatre premiere of Godot (1995) and on the Beckett on Film project (2001), in which 19 of Beckett's stage plays were filmed and which featured a number of Irish directors including Neil Jordan, Enda Hughes and John Crowley. This grew out of the Gate Theatre Dublin Festival of nineteen of Beckett's plays launched in 1991. However, there is much scope for further research on the range of productions of Beckett's theatre in the United Kingdom and Ireland, and on the impact of such productions on the development of a Beckett aesthetic or style in UK and Irish theatre, or on acting, directing or designing practice (as in the work of Jocelyn Herbert). Moreover, hardly any research exists on regional or touring productions of Beckett's drama in Britain and Ireland. This project will offer substantial new data and insights into British and Irish theatre in the second half of the twentieth century. Our project aims to rectify such gaps and omissions in this area of Beckett scholarship through recognising and disseminating to the public, academic and theatre communities a detailed and critically robust study which will examine the long tradition of theatrically realising Samuel Beckett's work in the UK and Ireland.